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I Quotes

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All I Quotes

“It's the pleasures that are shallow and fast-flowing, tending to form and dissolve...The rapids are formed by the youth of pleasures but joy remains a dense rock in the streambed for ages, beyond any erosion..that no rapid can break in the flow of a stream but the rock remaining powerful, breaks up the rapids of pleasures, birthing waterfalls of wisdom that no season can wear away...”

“It’s the poet we love in Caeiro, not the philosopher. What we really get from these poems is a childlike sense of life, with all the direct materiality of the child’s mind, and all the vital spirituality of hope and increase that exist in the body and soul of nescient childhood. Caeiro’s work is a dawn that wakes us up and quickens us; a more that material, more than anti-spiritual dawn. It’s an abstract effect, pure vacuum, nothingness.”

“It’s the process of being minimized, invalidated, silenced. It’s the process of being subjected to whatever someone else thinks I owe them. It’s the process of being used, examined, explored, and thrown away. It’s the process of being convinced to comply with the orders of someone who does not see me as their equal, someone who sees nothing wrong with the notion that I’m somehow lesser than they are. Rape isn’t about sex; it’s about all those other things. It’s about power.”

“It’s the Queen’s English now,’ observed Peter mildly. ‘Is there a difference?’ asked Oundle rhetorically. ‘I fervently hope not.’ ‘There will be in time,’ said Peter. ‘That will be deplorable,’ replied Oudle. ‘I shall not myself deviate by a syllable from correct usage.’ ‘My language is foul, and yours is Fowler?’ said Peter, and added one of his sudden quirky smiles, ‘or know your Onions.’ This quip crossed the barrier of the table, because the man sitting nearly opposite Peter laughed. ‘Onions?’ said Oudle. ‘C.T. Onions, I imagine,’ said the man opposite. ‘Editor of the Oxford English Dictionary.’ ‘Oh, I see,’ said Oudle. ‘Very droll.”

“It's the roaring that makes you hear the stillness in your head louder. I imagine that when I die it's gonna be like that. There's gonna come a big, white sound, like spring rapids or avalanche, and it's gonna sweep me up into it, but it ain't gonna carry me away, no. No, it's gonna make me a part of it. In that moment, when I'm dying for good, I'm gonna be that white water. I'm gonna be that avalanche. Yes, I will. I know how it's going to be. Those last few moments I'm alive, I'm gonna dive down deep into that roaring and I'm gonna swim through until I find the stillness at the raging heart of it.”

“It’s the same for all media: the first few brushstrokes to the blank canvas satisfy the requirements of many possible paintings, while the last few fit only that painting — they could go nowhere else. The development of an imagined piece into an actual piece is a progression of decreasing possibilities, as each step in execution reduces future options by converting one — and only one — possibility into a reality. Finally, at some point or another, the piece could not be other than it is, and it is done. That moment of completion is also, inevitably, a moment of loss — the loss of all the other forms the imagined piece might have taken. ...Designer Charles Eames, arguably the quintessential Renaissance Man of the twentieth century, used to complain good-naturedly that he devoted only about one percent of his energy to conceiving a design — and the remaining ninety-nine percent to holding onto it as a project ran its course. Small surprise. After all, your imagination is free to race a hundred works ahead, conceiving pieces you could and perhaps should and maybe one day will execute — but not today, not in the piece at hand. All you can work on today is directly in front of you. Your job is to develop an imagination of the possible. A finished piece is, in effect, a test of correspondence between imagination and execution. And perhaps surprisingly, the more common obstacle to achieving that correspondence is not undisciplined execution, but undisciplined imagination. It’s altogether too seductive to approach your proposed work believing your materials to be more malleable than they really are, your ideas more compelling, your execution more refined. As Stanley Kunitz once commented, “The poem in the head is always perfect. Resistance begins when you try to convert it into language.” And it’s true, most artists don’t daydream about making great art — they daydream about having made great art.”

“It's the same struggle for each of us, and the same path out: the utterly simple, infinitely wise ultimately defiant act of loving one thing and then another, loving our way back to life... Maybe being perfectly happy is not really the point. Maybe that is only some modern American dream of the point, while the truer measure of humanity is the distance we must travel in our lives, time and again, "twixt two extremes of passion--joy and grief," as Shakespeare put it. However much I've lost, what remains to me is that I can still speak to name the things I love. And I can look for safety in giving myself away to the world's least losable things.”

“It's the same with the wound in our hearts. We need to give them our attention so that they can heal. Otherwise the wounds continue to cause us pain. Sometimes for a very long time. We're all going to get hurt. But here's the trick - they also serve an amazing purpose. When our hearts are wounded that's when they open. We grow through pain. We grow through difficult situations. That's why you have to embrace each and every difficult thing in your life.”

“It's the secrecy surrounding drone strikes that's most troubling. . . We don't know the targeting criteria, or whether the rules for CIA and military drone strikes differ; we don't know the details of the internal process through which targets are vetted; we don't know the chain of command, or the details of congressional oversight. The United States does not release the names of those killed, or the location or number of strikes, making it impossible to know whether those killed were legitimately viewed as combatants or not. We also don't know the cost of the secret war: How much money has been spent on drone strikes? What's the budget for the related targeting and intelligence infrastructures? How is the government assessing the costs and benefits of counterterrorism drone strikes? That's a lot of secrecy for a targeted killing program that has reportedly caused the deaths of several thousand people. (117-118)”